Classifier Instance:

Anchor text: William Shakespeare
Target Entity: William_Shakespeare
Preceding Context: This dramatic device was probably first used by Thomas Kyd in The Spanish Tragedy around 1587, where the play is presented before an audience of two of the characters, who comment upon the action. From references in other contemporary works, Kyd is also assumed to have been the writer of an early, lost version of Hamlet (the so-called Ur-Hamlet), with a play-within-a-play interlude.
Succeeding Context: used this device in many of his plays, including A Midsummer Night's Dream, Love's Labours Lost, and Hamlet. In Hamlet the prince, Hamlet himself, asks some strolling players to perform the Murder of Gonzago. The action and characters in The Murder mirror the murder of Hamlet's father in the main action, and Prince Hamlet writes additional material to emphasize this. Hamlet wishes to provoke the murderer, his uncle, and sums this up by saying "the play's the thing wherein I'll catch the conscience of the king." Hamlet calls this new play The Mouse-trap (a title that Agatha Christie later took for the long-running play The Mousetrap). In the Hamlet-based film Rosencrantz & Guildenstern Are Dead the players even feature a third-level puppet theatre version within their play. Almost the whole of The Taming of the Shrew is a play-within-a-play, presented to convince Christopher Sly, a drunken tinker, that he is a nobleman watching a private performance, but the device has no relevance to the plot (unless Katharina's subservience to her "lord" in the last scene is intended to strengthen the deception against the tinker) and is often dropped in modern productions. Pericles draws in part on the 14th century Confessio Amantis (itself a frame story) by John Gower and Shakespeare has the ghost of Gower "assume man's infirmities" to introduce his work to the contemporary audience and comment on the action of the play.
Paragraph Title: Play within a play
Source Page: Story within a story

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